Grupo

de Estudos em Fonologia Patterns of stress can be classified as lexical, paradigmatic, or positional.

Zsiga, E. (2013) The sounds of Languages: An introduction to Phonetics lexical stress system: (sometimes also known as free stress), the placement
and Phonology. of stress is largely unpredictable.
paradigmatic stress system: the stress pattern depends on morphological
ACENTO information
positional stress system (fixed stress): whether or not a syllable is stressed
Linguistic stress can be defined as a prominence relation between syllables depends on its position in the word
(p. 354)
stress is demarcative, it marks edges >> rhythmic property of stress
Linguistic stress is always a matter of relative prominence, and speakers can >> stress clash >> stress shift
distinguish multiple relative levels (p. 354)
If a language has a stress system that pays attention to syllable weight, the
Acento primrio; Acento secundrio system is termed quantity-sensitive.

Stress can sometimes be contrastive (p. 354) Weight-to-Stress principle >> If heavy, then stressed
Stress-to-Weight principle >> If stressed, then heavy
Stress is often an important determinant for other allophonic
generalizations: certain allo- phones occur in stressed syllables, others in Stress has no single phonetic correlate, Stress is multi-leveled, Stress is
unstressed syllables. (p. 355) alternating, Stress is culminative, Stress is positional, Stress is demarcative
Porantato, no deve haver um trao [+/- stress]
Diminuitivo no PB
We capture the alternating nature of stress by introducing the notion of a
A syllable may be made prominent, made to stand out from other syllables, in metrical foot. A foot is a grouping of one or more syllables, one of which (the
a number of different ways. A stressed vowel may be longer or louder than head) is stressed
other syllables; it may have higher pitch, and its consonants and vowels may
be more clearly articulated. Different languages may choose to emphasize Troqueu (* .); Imbo (. *)
different dimensions of stress.

No PB, durao




ACENTO NO PB #Lee (1995)
#Bisol (1992):
Regra de acento do no-verbo
a) O acento pode cair sobre uma das trs ultimas slabas da palavra; Domnio: radical
b) A posio do acento na penltima slaba preferida, quando a a) Constituinte ilimitado
palavra for terminada em vogal; b) Cabea diretia
c) A posio do acento sobre a ltima slaba preferida, quando a
palavra for terminada em consoante. Regra de acento dos verbos
Domnio: palavra
Regra do acento primrio em nomes a) Constituinte binrio
Domnio: a palavra lexical b) Cabea esquerda (troqueu)
i. Atribua um asterisco (*) slaba pesada final, i.e., slaba de c) No iterative
rima ramificada d) Direira para a esquerda
ii. Nos demais casos, forme um constituinte binrio (no-
interativamente) com proeminncia esquerda, do tipo (* .), [caf] [almo]o] [fal]o] [entende]mos]
junto borda direita da palavra (. *) (. *) (* .) (* .)

A mesma regra para verbos e no verbos. A diferena o domnio de Regra de acento do no-verbo (casos marcados)
aplicao. Nos no verbos, palavra derivacional a partir do radical + VT; Domnio: radical
nos verbos, aplica-se na palavra pronta, de uma s ver (no-ciclicamente). a) Constituinte binrio Paroxtonas terminadas em
b) Cabea esquerda consoantes
Extrametricidade de slabas e segmentos para lidar com as excees. c) No iterative Proparoxtonas
d) Direta para a esquerda

Regra de acento dos verbos
Domnio: palavra Formas como bati, bater
Bisol: muita extrametricidade a) Constituinte ilimitado
b) Cabea direita
c)
Lee: regras distintas

TOM INTONAO

Tone is the use of pitch to create lexical contrast (p. 396) Intonation can be defined as the use of pitch and other suprasegmental
features to convey discourse-level meaning.
register tone languages: languages that contrast only relative pitch levels
contour tone languages: languages that use of patterns in which the pitch There do seem to be some universal, non-accidental properties to intonation:
necessarily moves up or down (or both) over the course of the syllable cross-linguistically, low or falling pitch is associated with assertion and
finality, while higher pitch is associated with non-finality.
Crucially, our set of features must account for up to five distinct levels (but
not more), as well as the set of possible contours, which include simple rises All languages, including tone languages, use intonation.
and falls, falling- rising or rising-falling shapes, and rises and falls that move
across only part of the pitch range (p. 400) Representao
i. Profiles / Tunes
ii. Intonation is compositional: pitch accent (H* L*) + boundary
tones (H% L%)

In a number of languages, distributional facts suggest that the mora, rather
than the syllable, is the tone-bearing unit. Hausa, for example, contrasts high,
low, and falling tones. Tmac he falling tone, however, can occur only on
heavy syllables. (p. 402)